Cards

I've been working on the index cards. This is where I go through the footage, organizing the material by putting potential scenes on individual index cards. The material can be broken down as follows:

Possible Sequences with Main Characters
Interviews with Main Characters
Gaijin Interviews
Nihonjin Interviews
Places
Stereotype/Non-Stereotype scenes (e.g. Taichi in the park vs. Homeless in the Park)

Each index card holds a gem. This film could be four hours long. The next step is to begin to structure...arranging the index cards. Then I can start to delete cards until I have a tight structure. I'm trying to do as much as possible for the editor before he comes on board.

I'm gonna try to upload some of these cards as examples, but the website and blog have taken a second seat.

Thank goodness Patrick is getting a little bit of work because the Tokyo Cowboys money has run out. I really don't know how we are managing to survive, but somehow, at the last minute, someone helps us out with a donation of money or food. What kind of life is this? People always say, "do what you love, and the money will come." I'm putting that theory to the test. We've managed to pay our rent and eat, but that is it. Is this it? No, no...I'm thankful for being able to work as a filmmaker full time. That's my full-time work, and I am lucky. I am doing what I love.

Finally...

finished the budget and the one-pager. I don't know why the one-pager took so long. It's just supposed to be a one page description of the film. But I was struggling and struggling, then finally decided to go the poetic route.

Didn't get much done yesterday. Robert dragged us to the Punk Rock festival at the Astoria. I'm glad I went, but I felt guilty for now working. Then I thought, "It's Sunday, for God's sake." I'm working too much and too little, I think. Must learn more about time management.

Switching Gears

I spent the whole day yesterday trying to sort out the budget for %$£& Films. All of the budget and expense files for TC are in a million different files, so consolidating them and re-formatting them to industry standard was such a chore. I still have more to do today. It's amazing how much of the work that I do has nothing to do with what will be up on screen. It's frustrating.

I had this strange sensation while entering all of the receipts into Excel. As I looked at the dates, how much was spent and on what, fragments of the shoot drifted by my mind's eye. On this day, we ate at this place and that was the day that we shot X. It was sort of Proustian in a way.

PFD David Charap's Talent Agent

PFD - Europe's leading literary and talent agency.

One Pager

Spent loads of time yesterdary trying to write a "one pager" for %$£& Films. It's a one page description of the project aimed at broadcasters. I was struggling really hard with it for about an hour when I had a breakthrough. It was the language that was bugging me. Then, all of a sudden, I started to use a different kind of language...my poetic language. Everything started to click. I've got a good draft, which I'll put up here when I'm done.

I'm seriously thinking about stalking one of the UK editors who I think could handle this thing. There's a guy called David Charap who has edited about 8 features and countless documentaries. He might be the one. But I definitely would have to stalk him.

Some Relief from %$£& Films

I had a meeting with S. and J. from %$£& Films yesterday. They are really keen to help post-produce the film. They can help me find an editor and get the thing finished. They can also help me to raise the rest of the money. I like those guys. They are just the right combination of laid backness and the business.

As for editors? I would like David Charap (My Summer of Love), Justine Wright (Touching the Void), Richard Hankin (Capturing the Friedmans) or Doug Abel (Metallica: Some Kind of Monster and The Fog of War). Sylvia says "It doesn't hurt to ask." So, if any of you out there knows one of these fine, fine editors, could you please put me in touch?